Film in the Public Space

Film in the Public SpaceThe following programme proposal is for Film in the Public Space, a new MSc course and professional preparation in film exhibition and curatorship. This initiative contributes to the enhancement of the universitys interdisciplinary culture which the new Centre for Film Performance and Media Arts aims to map out. Film in the Public Space has already received support in the form of funding from the Roberts Fund and the SIF.

I/ Academic Strategy

We expect Film in the Public Space

to become self-sustained within two to three years

to create significant activity in the field, contribute to cross-disciplinary teaching and research, and increase the visibility of the university in this area of studies

to boost postgraduate recruitment

to reinforce existing connections and create new links with the professional world

Programmes such as Film in the Public Space are still relatively new in the UK. Edinburgh University, aided by its unique location, needs to seize the opportunity to become a leader in this area. This new programme will enhance the visibility and distinctiveness of film teaching at Edinburgh. It will develop novel approaches to films various circulations in the public space; its economic and institutional structures, as well as its aesthetic forms; and the many ways film can address and construct its audiences. The programme will utilise the research excellence in both film and broader cultural provision that exists at Edinburgh, integrating this within a teaching model which stresses the professional applicability of critical, research and practice skills.

Film in the Public Space has the potential to forge cross-disciplinary connections, and to build a network of collaborations with institutional, industry and creative partners. These relationships, maintained within a process of exchange between staff, students and practitioners, will be central to the quality and credibility of the programme.

Furthermore, the programmes specific concern with questions of cultural transmission, outreach and audiences, as well as through the more general accessibility and reach of film as a medium, clearly connects with an agenda of research and public activities where knowledge transfer and public impact are vital.

We envision the new MSc as completely integrated to existing postgraduate provision and academic strategies: it will complement, expand as well as build on existing provision within LLC and ACE. It will draw on and develop the ongoing work in teaching and research in film studies at the University of Edinburgh. It will also be excellently placed to make full use of staffs extensive connections with the citys wider international film culture.

Film in the Public Space will contribute to the universitys culture of interdisciplinary teaching and research. The programme will share seminars and option courses with related programmes across the two schools in particular, though not exclusively, The MSc in Film Studies (LLC); The Culture of Display (History, Theory and Display - History of Art - ACE); Sound Environments (Sound Design - Architecture); Media and Culture (Digital Design - Arch) and the new MSc in Composing for the Screen (ACE).

Collaboration with staff and postgraduate students from other subject areas will be encouraged through the creation of festivals or screening seasons on subjects of interdisciplinary interest.

Part of the preparation and assessment will involve selecting and curating work created by students enrolled in related courses across ACE and LLC, and one of the outcomes of the programme will take the form of screenings and exhibitions, some initiated in collaboration with students and staff from other subject areas not only in LLC, ACE and ECA, but also with other schools from Sciences, to Informatics to Law. Other projects will lead to a public screening or season held either at the University of Edinburgh or Filmhouse Cinema.

We envision these shows to partly function as test ground or show cases for research ideas and projects, broadening the impact of the research.

We also envision that such aspects of the programme, as well as the enhanced collaboration between staff contributing to the curriculum, will lead to the further development of existing and new research projects, leading to inter-disciplinary grant applications.

II/ Resources

Staffing

The programme will be run jointly by two part-time programme coordinators (job-share), as a sister programme to Film Studies, and in close collaboration with other programmes in LLC and ACE (see Academic Strategy). In addition to new resource that the new post represents, certain elements of the course content and well as the required elements of infrastructure will be provided through existing provision within LLC and ACE. The programme will draw on the technical support available within LLC and ACE; as the programme increases in size it is anticipated that LLC and ACE will contribute administrative support. Staffing is sufficient to cover projected student numbers over the initial three years (see projections below) but will need to be reviewed if student growth is greater than anticipated.

Salary of the job share is funded for three years thanks to grants from the Roberts fund and the SIF.

Recruitment

There are few courses focusing on the curating and distribution of film and media arts in the UK, none in Scotland. Set in a capital city that boasts a wealth of festivals including one of the main European Festivals - the Edinburgh International Festival - Edinburgh University is uniquely placed to develop such a programme. On the other hand, courses which ally theoretical learning with vocational skills are sought after. The MSc in Film Studies has flourished in the past few years, and we expect the new programme to similarly attract students from overseas as well as from Europe. Students will be expected to have a good honours degree (equivalent to UK 2:i degree) and will be recruited from a range of academic and professional backgrounds. The programme is designed to appeal to the needs of students with a background in film studies and also to develop skills in this field for those who lack a formal education in film.We envision the programme to be self-funded within three years (6 MSc students in 2010; 10 students in 2011; 15 MSc students in 2012).

Teaching

The part-time coordinators will teach the core courses, develop a dedicated research course in second semester, offer one new option (to be offered to students from other MScs in LLC and ACE), and organize and coordinate the programme of workshops and seminars.

In addition, we envision that the taught part of the course will receive some contributions from members of staff from the two schools who teach in related areas of study. Similarly, the new MSc coordinators will offer some contributions and/or open some workshops to related MSc programmes. As stated in the description of the programme above, Film in the Public Space will also share options and modules with existing MSc courses.

Workshops

A provision of 1700 from the Roberts fund will cover the cost of a programme of visiting speakers and workshops. The bench fees will complement this fund. Some of the workshops will be organized in collaboration with Film Studies to make the most of existing resources. In addition, the programme coordinators will apply for funding to enhance existing provisions. Core teaching will be delivered by the programme co-ordinators and invited speakers will complement this provision.

The programme will also draw on the expertise of former and existing colleagues who are active in the area of film curating and festivals.

Library

With regard to university Library, consolidation and up-dating of existing resources can be ensured through the normal recommendation and ordering system.

Screenings and Specialized Facilities

In terms of specialized facilities, Students would be able to make use of LLCs Language and Humanities Center (Film library and editing suites). ACE will provide some lab space and part of the equipment.

Where screenings are concerned, the facilities in ACE and at the LHC will be used.

Final project

Standard MSc bench fee to be raised to 500 to be used as seeding monies for final projects, to cover equipment costs and to enable a full programme of professional speakers. For ambitious student projects (e.g: screening seasons) requiring a larger budget, applying for funding will be part of the students project planning. This bench fee will be split LLC and ACE, 250 to each school, reflecting they ways the programme will draw on technical and administrative services across the two schools.

Additional funding

As part of further curriculum development, the project coordinator will apply for external funding to enhance existing computer training, and digital curatorship and production skills. Some workshops may be open to external participants (from professional bodies) against a fee.

III/ Overall Content and Rationale

Film in the Public Space will be offered as a new taught MSC designed to provide professional expertise and outreach skills for postgraduate students in Film Studies and related areas in LLC and ACE, taking advantage of Edinburghs unique film culture as well as exhibition and festival infrastructures.

Aims and Objectives

Film in the Public Space is designed to provide professional expertise and outreach skills for postgraduate students, taking advantage of Edinburghs unique film culture as well as exhibition and festival infrastructures.

The course will examine the ways film is circulated across a range of public spaces economic, institutional, technological, discursive and transnational. It will consider film as a material object, as a carrier of representations, and as a series of economic and cultural relations. At the heart of the programme will be an understanding that film functions both symbolically and materially; this integrated approach is embedded in the teaching methods across the programme.

The circulation of film in the public space is often neglected in low budget production, in educational models and in academic accounts, yet is central to the mediums ability to find and communicate with an audience. Exhibition is key to the survival of independent film-making and the alternative visions of the world this can carry. This programme aims to educate and inform future professionals about the significance of this crucial field and to instruct students on ways to manage delivery in a rapidly transforming environment. The programme will also aim to enable students to engage with new audiences and develop modes of outreach and accessibility, to generate and manage collaborations, and be a valuable presence and resource within the film community. Outcomes

Film in the Public Space will provide MSc students with those insights and skills essential for a career in film programming and festival organisation, furnishing them with ability to work beyond their theoretical expertise to deal with practical and professional tasks. These include: establishing links with the industry, building commercial and non-profit partnerships, fundraising, effective planning and co-ordination, marketing, contacting filmmakers, sourcing films, budget management, compiling a programme and reaching new audiences.

IV/ Programme StructureThe structure of the teaching forms a distinctive, novel and appealing programme which will combine rigorous academic work with a firm grounding in contemporary film practices. These will be taught in conjunction with the delivery of key professional skills. It will offer models of teaching and assessment that will integrate concepts of film as an aesthetic and industrial form. It will highlight the mutual dependence of production and exhibition, with a particular focus on the significance of this relationship for independent and non-mainstream film.

The taught MSc extends over 12 months and comprises:

a 2x20 credits core course on film, spectatorship, and the culture of display, Film in the Public Space 1 and Film in the Public Space 2.

One option in each term, selected from a range of MSc option courses in LLC and ACE to include the new option course on Small Nation Cinemas

LLCs Research Methods (term 1) course and Project Planning and Research Skills (term 2), a specialist course delivered by the Film in the Public Space tutors

The vocational teaching, offering expertise in film exhibition and curatorship, will operate in collaboration with professional organizations in the local area and beyond (including the Edinburgh International Film Festival, Filmhouse Cinema, Glasgow Film Theatre, Creative Scotland amongst others) will be integrated to the course in the form of workshops and seminars as part of Film in the Public Space 1, Project Planning and Research Skills, and additional Professional Workshops.

Semester One

credits

Film in the Public Space 1

20

Research Methods programme

20

Elective Option

20

Semester TwoFilm in the Public Space 2

20

Project Planning and Research Skills

20

Elective Option

20

Summer Term

Dissertation / Group Project /

Group or Individual Report

60

V/ Assignment Design

Theoretical approaches will be assessed through applied examination of a range of manifestations of film in the public space - defined broadly and operating across a range of media: film exhibition, broadcasting, education, publishing, archives and online dissemination. Teaching and assignment work drawing on critical readings will be supported with a range of activities designed to encourage adventurous thinking and the critically informed application of ideas. This will give students a sound theoretical grasp of a complex and rapidly changing medium.

Alongside conventional written assignments, students would be expected to participate in a range of group work, simulated exercises and applied projects. These would be designed to integrate critical reading and institutional knowledge with applied tasks. They would transmit key professional skills and the projects undertaken allow students to graduate with a portfolio of relevant work. Some of these would be marked on a pass / fail basis (ie non-participation, fail) to encourage students to take risks and to enable them to learn from mistakes without the pressure of graded work.

PROFESSIONAL COLLABORATIONS AND OUTREACH

A key element of the programmes value and appeal will be generated through the connections it can offer with professional practitioners and with audiences. The programme directors will enhance and expand on Edinburgh Universitys existing strong networks with national and international film festivals, such as the Edinburgh International Film Festival, Diversions, the French Film Festival; and with other professional bodies. They will also work to develop new partnerships with practitioners in film production and marketing, exhibition and curatorship, and build relationships with archival organisations and policy-makers. Students will have the opportunity to benefit from these connections through a number of initiatives.

a) The core teaching on Film in the Public Space will draw on the skills and knowledge of invited speakers from industry and other moving image organizations

b) The programme directors will establish a series of themed workshops with invited professionals. These workshops will be open to MSc and PhD students from Edinburgh and participants from partner organisations. Where appropriate, a number of places may also be made available to other industry practitioners and paying attendees.

These workshops are intended to complement the formal teaching on the Film in the Public Space masters, but additionally to develop a programme of outreach beyond the university to collaborative partners from other HEIs, from Scottish, UK and European cultural institutions and to relevant cultural practitioners and creative communities.

c) Students on the programme will have the opportunity to develop collaborative projects with partners outwith the university. Students may be able to contribute to existing projects and to gain work experience in professional contexts (for instance working on the documentary project, The Story of Film, as part of a developing collaboration between Film Studies, Mark Cousins and Hopscotch Films).

d) The programme directors will approach professional partners to establish informal mentoring when and as appropriate.

e) A new exchange scheme in progress with La Sorbonne 1 will enable professional exchange and work placements for selected students.

In keeping with the programmes emphasis on outreach and the relationship between film and its audiences, project work will enable students to reach out from the university to create events that connect with and reach out to new audiences. Students will also be encouraged to look beyond the moving image community and to build collaborations and cross-disciplinary connections that draw on the extraordinary range of activities within and beyond the university, making use of and reflecting the diversity to be found in Edinburgh.

VI/ Programme Content

AUTUMN TERM

Film in the Public Space 1

Rationale

This core course will run in Semester One. It serves as a critical introduction to theoretical and institutional frameworks for the study of film in the public space. Course design and content foregrounds the programmes integrated approach to the applied understanding of film in the public space.

Aims

This course will provide students with a strong theoretical grounding on questions of film production, exhibition and circulation. Through a programme of related screenings and workshops, the course will encourage students to locate and critique their learning through a series of applied activities and through formal written assignments.

Course Description

Film is a powerful and pervasive global carrier of meaning. This course will explore historical and technological developments in relation the form and content of the moving image, and help students to understand the nature of its circulation through a wide range of locations exhibition spaces and discursive spaces; geographic, generic, social and virtual spaces. Students will be introduced to studies of exhibition practice and economic, policy-based and industrial frameworks. They will learn how to conceptualise the shifting relations between national and transnational models in relation to different forms of film production and exhibition. An inter-related programme of screenings, research seminars and applied workshops will enable students to deepen and test their understanding of films movements.

The course will be delivered through three parallel teaching strands:

a) a weekly programme of two hour lectures and research seminars

b) a weekly programme of two hour workshops, introducing applied skills

c) a weekly programme of related screenings.

a) The research seminar teaching will cover questions of cinematic production, distribution and exhibition across a range of national, technological and aesthetic contexts. It will be organised around three central conceptual themes: places, voices and spaces. The opening weeks on places will move from the model of Hollywood cinema, through an exploration of European film, to a consideration of third cinema, the transnational and emergent cinemas. The voices strand will take case studies of critical ideas of filmic voices and explore the ways these ideas have become circulated in academic and popular discourses, and across a range of institutional settings. In the first year of teaching this will focus on the idea of the auteur, and on queer cinema. The final weeks of semester will look at key spaces where film is experienced and examine how the technological and cultural formation of these spaces shapes the cinematic encounter. Spaces studied will include the multiplex, the arthouse, the festival, the gallery, the archive, the television screen and the monitor.

Indicative Course Content

Week 1: The Political Economies of Film

Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press; Geoff King (2005) American Independent Cinema, London: IB Tauris. Guneratne & Dissanayake (eds.) (2003) Rethinking Third Cinema, London: Routledge; Hark, Ina-Rae (2008); Kauer & Sinha (eds.) (2005) Bollywood: Popular Indian Cinema Through a Transnational Lens, London: Sage. Movie Mutations: The Changing Face of World Cinephilia,; Heywood, Ian and Barry Sandywell (eds.) Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual (London: Routledge, 1999).

Week 2: Questions of Exhibition and Distribution

Exhibition, the Film Reader, London: Routledge; Jackel, Anne (2003); Rosenbaum and Martin (2003) Movie Mutations: The Changing Face of World Cinephilia; .). Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual (London: Routledge, 1999); McLuhan, Marshall. Understanding Media: The Extensions of Man (London: Routledge, 1994); MacDonald, Sharon (ed.). The Politics of Display. Museums, Science, Culture. London, New York: Routledge, 1998; Benjamin, Walter. 'The Work of Art in the Age of Mechanical Reproduction', in Illuminations, ed. Hannah Arendt (London: Cape, 1970)

Week 3: Places Hollywood

Bordwell, David; Kristin Thompson (2002). Film History: An Introduction. New York: McGraw-Hill; Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press; Elsaesser (2009) The Persistence of Hollywood, London: Routledge; Elsaesser (2009) The Persistence of Hollywood, London: Routledge; (1994) Hollywood in Europe : experiences of a cultural hegemony / edited by David W. Ellwood, Rob Kroes ; with contributions from Gian P. Brunetta Amsterdam : VU University Press; McQuire, Scott. Visions of Modernity: Representation, Memory, Time and Space in the Age of the Camera (London: Sage, 1998)

Week 4: Places Europe

Corless & Darke (2007) Cannes: inside the world's premier film festival, London: Faber; De Valck (2007) Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: University of Amsterdam Press; Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press; Jackel, Anne (2003) European Film Industries, London: BFI; Jacob, Gilles (2009). Citizen Cannes: La Vie Passera Comme Un Rve or Life Will Pass Like a Dream, Paris: Editions Robert Laffont

Week 5: Places Third Cinemas / Hollywoods Others

Davis, Darrell William; Yueh-yu Yeh, Emilie (2007) East Asian Screen Industries, London: BFI; Dennison & Lim (eds) (2006) Remapping World Cinema: Identity, Culture and Politics in Film, London: Wallflower Press; Guneratne & Dissanayake (eds.) (2003) Rethinking Third Cinema, London: Routledge; Hjort, & Mackenzie (2000). Cinema and Nation, London: Routledge; Rosenbaum and Martin (2003) Movie Mutations: The Changing Face of World Cinephilia, London: BFI; Shapiro (2008) Cinematic Geopolitics, London: Routledge; Karp, Ivan and Steven D. Lavine (eds.) Exhibiting Cultures: the Poetics and Politics of Museum Display. Washington: Smithsonian Institution Press, (1991). MacDonald, Sharon (ed.). The Politics of Display. Museums, Science, Culture. London, New York: Routledge, (1998).

Week 6: Voices Auteur Cinema

Week 7: Voices New Queer Cinema

Griffiths, Robin British Queer Cinema (British Popular Cinema) (New York, NY and London: Routledge 2006); Ellis Hanson (ed.) Out Takes: Essays on Queer Theory and Film 9 Durham, NC and London: Duke University Press 1999); Stacey and Street (eds) (2007) Queer Screen, London: Routledge;

Week 8: Spaces the Multiplex and the Arthouse

Week 9: Spaces the Festival circuit

Week 10: Spaces the Gallery and found spaces

Peter Biskind (2004) Down and Dirty Pictures: Miramax, Sundance, and the Rise of independent Film; Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press; Elsaesser (2009) The Persistence of Hollywood, London: Routledge; Elsaesser (2009) The Persistence of Hollywood, London: Routledge; Hooper-Greenhill, Eilean (2000) Museums and the Interpretation of Visual Culture New York: Routledge; Charlie Keil, Ben Singer (Eds) (2009) American Cinema of the 1910s: Themes and Variations, Rutgers University Press; Geoff King (2002) New Hollywood Cinema: An Introduction New York: Columbia University Press; MacDonald, Sharon and Paul Basu (eds) (2007) Exhibition Experiments Malden, MA: Blackwell; De Valck (2007) Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: University of Amsterdam Press.b) The workshop strand will introduce a series of applied tasks, designed to build students professional skills through the interrogation and application of the critical concepts introduced in seminar teaching. Students will be given experience of group work, of research, of industry and institutional analysis, and of a wide variety of relevant writing and creative practices. Tasks will include research and comparative analysis of alternative cinema exhibition models; researching and uncovering new releases; developing exhibition and marketing strategies; writing press releases and producing examples of film journalism; critical analysis of festival programming and design.

Example of topics to be included in discussions and workshops:

Exhibition models. Vertical integration and the development of the multiplex; Independent cinemas and the battle for box office; film festivals and identity ie Cannes - international discovery, Sundance and indie discovery, Toronto - the culture of the premiere etc. The retrospective and special events: BFI and international archives, making discoveries, breaking new ground (case study, Edgar G. Ulmer at the Edinburgh Film Festival). The Holy Grail: online aggregators and future possibilities. The significance of film festivals to the careers of indie film makers. Case studies to include: Steven Soderberg, Lynne Ramsay, Shane Meadows, Jane Campion, Michael Haneke, Darren Aronofsky. Exhibition practice. Research. Rights. Negotiations. Technical Understanding. Sourcing material (finding it and can you show it : ie the difference between 70mm and DigiBeta). Making contacts. How distributors and sales agents work. Pre sold rights. Promotional clauses.

Creating a narrative. Researching and selecting films, scheduling films, writing the narrative and selling it: programme notes, marketing etc.

c) The weekly screenings this semester will be programmed by the tutors, but may be supplemented by student work on research, introductions and the production of contextual material.

Assessment

50% of the grade will be made up of a cumulative coursework grade for workshop activities; the remaining 50% will consist of a 2,500 word essay on a related topic to be submitted at the end of semester.

Research Skills (LLC)

The course will be assessed by praxis-based projects (e.g: annotated bibliography) on which advice will be given by the convenor of those courses (Dr Adam Budd). Option 1

Students will be able to choose from the options currently offered to the student of the Film Studies MSc (listed below). The programme co-ordinators are additionally developing links across other schools and disciplines within the University which will open up a broader range of final choices.

Early European Cinema: From the Cinematograph of the Lumires to Eisenstein's Montage Technique

Italian Cinema: Neorealism and its Modulations

Avant-Garde Film

Screening the past: History in Hollywood and European cinemas

World Cinema: Revisions and Replacements Gender, Revolution and Modernity in Chinese Cinema Constructing Reality (involves the making of a 4mn documentary)

Sound and Fixed Media

Cinemas of the Middle East

Film and the other arts Assessment

The course will be assessed through one 4000 words essay.

SPRING TERM

Film in the Public Space 2

Rationale

This course will continue the core teaching, introducing students to key concepts around the circulation of film in the public space. It will amplify the core work of semester one, but develop the focus of the programme onto the relationship between film and its audiences. It will explore the idea of curatorship as a kind of mediation between object and audience and expand ideas of exhibition across a range of technologies and forms.

Aims

This course will provide students with a varied and nuanced understanding of the ways film travels across national, generic and historical spaces. Students will be introduced to a range of means through which filmic ideas are communicated to audiences and will gain a knowledge of the institutional and industrial contexts within which film is circulated. Students will be enabled to develop a critical understanding of these frameworks, and to connect and apply this understanding through written work in Film in the Public Space 2, and through the project-based activities undertaken within Research and Project Planning and the Final Project.

Course Description

Teaching and reading will be organised around the themes of travel and transmission, with a central concern with questions of circulation and communication. Contemporary shifts in the circulation of film will be traced through the examination of the role of fans, of archives, of broadcasting, and of print and online publishing.

The course will be delivered through weekly two hour seminars. Core teaching will be delivered by the programme co-ordinators, but it is anticipated that this will be enhanced by additional presentations and/ or workshops from a range of invited speakers with professional expertise in exhibition, archiving and production.

Indicative Course Content

Week 1: Theorising Spectacle and Spectatorship

Week 2: Theorising Audiences / Researching Audiences

Barker and Mathijs (eds) (2007)Watching the Lord of the Rings: Tolkiens World Audiences, NY: Peter Lang; Bazalgette and Buckingham (eds.)(1995), In Front Of The Children: Screen Entertainment and Young Audiences, London: BFI; Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste (Harvard University Press, Harvard, Mass; Cartmell et al (eds.) (1997), Trash Aesthetics: Popular Culture and its Audience, London: Pluto Press; Dickinson, Linn and Ramaswami Harindranath (eds.) (1998), Approaches to Audiences, Arnold; Maccannell, D. (1999), The Tourist: A New Theory of the Leisure Class, University of California Press, London; Maltby and Stokes (eds.), Identifying Hollywoods Audiences: Cultural Identity and the Movies, (London: BFI 1999); Roy Stafford (2006) Understanding Audiences and the Film Industry, London: Palgrave Macmillan; Strauven, Wanda (ed) 2006) Cinema of Attractions Reloaded Amsterdam: Amsterdam University Press.Week 3: Transmission: National Models

Week 4: Transmission: Transnational Models

Berra , John (2008). Declarations of Independence: American Cinema and the Partiality of Independent Production, London: Intellect; Crane, D. et al. eds. (2002), Global Culture: Media, Arts, Policy and Globalization, Routledge, London; Hartley, J. (2005), Creative Industries, Blackwell, Oxford; Morley, David and Kevin Robins (1995) Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries London: Routledge; Morley, David, (2000) Home Territories: Media, Mobility and Identity, London: RoutledgeWeek 5: Fan Cultures and Critical Cultures

Barker and Mathijs (eds) Watching the Lord of the Rings: Tolkiens World Audiences, NY: Peter Lang 2007); Scott Kirsner (2009) Fans, Friends and Followers: Building an Audience and a Creative Career in the Digital Age, CreateSpace or online edition; Thomson (2007) The Frodo Franchise, London: Penguin Books.Week 6: Travelling Cultures 1

Week 7: Travelling Cultures 2

Jancovich et al (2003) The Place of the Audience: Cultural Geographies of Film Consumption, London, BFI; MacDougall, David, (1998) Transcultural Cinema Princeton: Princeton University ; Miller, T. et al. (2005), Global Hollywood 2, BFI, London; Naficy, Hamid (1998) Home, Exile, Homeland: Film, Media, and the Politics of Place London: Routledge : Naficy, Hamid (2001) An Accented Cinema : Exilic and Diasporic Filmmaking Princeton: Princeton UPress; Rosenbaum and Martin (2003) Movie Mutations: The Changing Face of World Cinephilia, London: BFI; Shapiro (2008) Cinematic Geopolitics, London: Routledge.

Week 8: The Monstrous Archive: Film History in the Present

Week 9: The Monstrous Archive: youtube and the digital coda

Week 10: Course Review

Merewether, Charles (ed.), The Archive. Cambridge MA, MIT Press, 2006; Usai, Paolo Cherchi (2001), Death of Cinema, The: History, Cultural Memory and the Digital Dark Age. BFI; MacDonald, Sharon and Paul Basu (eds) (2007). Exhibition Experiments. Malden, MA: Blackwell; Utterson (ed) (2005) Technology and Culture: The Film Reader, London: Routledge; Wands, Bruce (2007), Art of the Digital Age. London, Thames & Hudson; Crary, Jonathan (2001). Suspensions of Perception: Attention, Spectacle, and Modern Culture Cambridge, MA: MIT Press; Darley, Andrew (2000). Visual Digital Culture: Surface Play and Spectacle in New Media Genres London: Routledge.

Assessment

Students will produce a 4,000 word essay on a theme drawn from the course.

Option 2

Students will be able to choose from the options currently offered to the student of the Film Studies MSc (listed below). The programme co-ordinators are additionally developing links across other schools and disciplines within the University which will open up a broader range of final choices.

An additional option on Cinema of Small Nations will be developed , taught by the Film in the Public Space tutors, and open to students from all partner MScs.

Option choices include:

British and Irish Cinema

Film Style and the Cinematic City

French Cinema: The Nouvelle Vague and Contemporary Trends

New German Cinema: Concepts and Film Style

Cinema Auteurs 1 and 2

Cinema: Time, Space, Memory

Cinematic Bodies

Cinemas of the Middle East

Cinema of Small Nations

Assessment

The course will be assessed through one 4000 words essay.

Project Planning and Research Skills

Rationale

This course will deliver the dedicated research and planning skills required for students work in the final project. It will allow students to develop exhibition and curatorial projects (either free-standing or in preparation for final project work) under the guidance of course tutors. The course will draw upon and connect with the conceptual and critical work explored in the core courses, Film in the Public Space 1 and 2.

Aims

This course will introduce students to a range of key professional and research skills. Through applied engagement it will enable them to develop a range of competences appropriate to professional life and / or further academic research in the field of film studies. Students will gain experience of groupwork, project preparation and professional outreach and collaborative work. They will also gain experience of public presentation and persuasive communication across a range of forms and audiences critical writing, pitching, presenting, reflection and evaluation etc.

Course Description

Project Planning and Research Skills will be taught through weekly two hour workshops delivered by the course tutors and, where additional expertise is required, by invited outside speakers. These will require the students to undertake a range of applied activities; these will include research, analysis, website design, and simulated and actual project and event management.The course will be accompanied by weekly screenings - programmed, sourced and introduced by students working in small groups and responding to themes developed across the programmes teaching. This will enable students to develop their skills in exhibition and event planning within a relatively controlled environment, in preparation for later outreach work.

The placing of this course in the programme will enable students to develop and deepen the applied and research skills acquired in first semester. It also creates a structure where students can safely manage the challenges of group work with some initial teaching staff support, and where more ambitious projects might be piloted in advance of final project work.

Indicative Course Content

Week 1: Exhibition Research 1Workshop Task: Students to research cinema programming and marketing strategies of two contrasting exhibition venues. Students to produce and present a comparative critical analysis.

Week 2: Exhibition Research 2

Workshop Task: Students to research potential screening, and develop appropriate introductory and contextual material.

Week 3: Critical Writing and Communication 1

Workshop Task: Students to produce and present a critical analysis of selected piece of film journalism or commentary. Work must demonstrate an understanding of genre and audiences. Work in Weeks 1 3 will receive a grade amounting to 30% of total course grade.

Week 4: Critical Writing and Communication 2

Workshop Task: Students to produce either a press release or a web presence or a piece of journalistic writing related to a new release identified and researched by students. This individual piece of work is worth 20% of the course grade.

Weeks 5 9: Project Planning and Execution

Weekly skills-based workshops continue delivered by course tutors and complemented by presentations from outside speakers. Topics include project-planning; budgeting and fund-raising; relationship management; marketing and audience outreach.

During this period students work in groups on self-generated project-based work, including curatorial projects, event organisation and exhibition.

Week 10: Project Reports and Critical Reflection

Students offer short presentations on their projects. These should include a reflective element and must make explicit connections with critical work studied in the core courses, Film in the Public Space 1 and 2. Project work will receive a grade worth 50% of the overall course grade.

Indicative Reading List

Anderson, C (2007) The long tail: how endless choice is creating unlimited demand London: Business Books

RE Caves (2000) Creative Industries: Contracts between Art and Commerce, Cambridge Mass: Harvard University Press

John Hartley (2005) The Creative Industries Oxford: Blackwell

David Hesmondhalgh (2002) The Cultural Industries, London: Sage

Morris , Tand Goldworthy,S (2008) PR - a persuasive industry? : spin, public relations and the shaping of the modern media London Palgrave

Sean Nixon (2003) Advertising Cultures, London: SageMike Pickering (ed), Research Methods for Cultural Studies, Edinburgh: Edinburgh University Press 2008

Spurgeon, C (2007) Advertising and new media London; Routledge

Ruth Towse (2010) A Textbook of Cultural Economics Cambridge: Cambridge University PressAssessment

Grading here will split between workshop activities (30%), project work (50%) and a short, individual piece of writing (20%). Workshop activities and project work will usually be undertaken within groups and allocated a group grade. Students will be expected to submit a detailed log of project management, planning and execution.

FINAL PROJECTThis will be the final piece of work undertaken by students on the Masters programme in Film in the Public Space. In keeping with the programmes innovative approach students will be offered the choice of a range of assessment designs and programme outcomes. These are designed to enable them to apply and critically engage with the concepts explored across the programme; to develop specific areas of professional and academic competence; and to contribute a significant project to the individual portfolios of work with which students will graduate.

Students will be offered a choice between:a) individual dissertation

b) individual or joint industry report / applied research project

eg research on digital exhibition, policy and funding frameworks, online distribution, analysis of selected film festivals strategy and execution

c) group project: event or exhibition management

students to curate and organise exhibition of selected works: students required to source and clear material, organise venues/digital platforms and events, publicise, create promotional and supporting material. We would like to see students involved in raising funds as part of this project. Students would submit individual reflective assessments to be assessed alongside the project.

d) screen project

an option for a group project producing a short digital presentation on a theme developed from programme content. Students would be given sufficient tuition to research and source appropriate found footage. It is not anticipated that this project would require students to generate their own material.

Student preparation for all final projects would be supported through the second semester course on Project Planning and Research Skills and through close individual supervision through April, May and June.

The distinctiveness of this programme and the vocational skills it will transmit are embodied in the range and content of final projects proposed. The course directors will develop detailed written guidelines for each form of project - to cover project planning, expectations of supervision, style of execution, and reporting and reflection on project work. In consultation with the external assessor and in collaboration with university colleagues the course directors will additionally develop clear grade descriptors for assessment, designed to operate across different project forms, and developed to ensure transparency and comparability across assignment grading.

Cinema of Small NationsSpring Semester Option

Rationale

This option is designed to respond to the needs of students enrolled on the MSc Film in the Public Space, students of the MSc in Film Studies, and students on related courses across LLC and ACE. In its focus on film as a material object, raising questions of production and exhibition alongside the close analysis of film content, it will support the distinctive approach of the new programme on Film in the Public Space. However its exploration of cultural representations and questions of national production should appeal to a considerably broader set of student interests.

The course will draw on the particular expertise of new staff members on the Film in the Public Space programme, but its flexible design will allow for significant elements to be delivered by other contributors to film and humanities teaching. (The course design also enables it to be run in later years in modified form by alternative teaching staff.)

Cinema of Small Nations develops from two entwined theoretical and applied concerns: firstly the reconceptualisation of ideas of the national in an age of globalisation, ongoing within film studies and related disciplines; secondly, the significance of ideas of nation within cinemas circulation in the public sphere, notably within curatorship and festival exhibition.

Aims

The course will offer a critical introduction to a selected range of national cinemas. Questions of historical and institutional development will be explored, alongside contemporary manifestations of established and emergent small national cinemas. The nature of small national cinemas specific forms and content will be set against an informed understanding of film as both economic and cultural object. The course will draw on work on film production, distribution and exhibition offered in the Film in the Public Spaces core course in autumn. It will expand these concerns through a focussed engagement with questions of the national, the global and the transnational. These debates will be studied in the light of currents of economic power and cultural agency within film production and its circulation.

Course DescriptionThis course will explore the production of cinema in small nations, through a series of nationally specific case studies. It will open with a set of key theoretical framings, exploring debates surrounding the shifting formation of the nation and the national, the contested and asymmetrical phenomenon of globalisation, and questions of the relation between core cultures and peripheries. The course will move on to situate these debates within the particular economic and cultural movements of global cinema; looking at notions of Hollywoods structural dominance and highlighting a range of small national strategies developed to challenge this hegemony from aesthetic innovations, through alternative spaces of exhibition to cultural protectionism.

Three introductory weeks on nationality, identity, cinema and its circulation will be succeeded by case study teaching across a narrower selection of small national cinemas. It is anticipated that these will be Scotland, Mexico and Korea in the first instance, but that the national content of this option will vary year on year.

The course will be taught through weekly two hour seminars, accompanied by a programme of weekly screenings.

Outcomes

Students will understand the circulation of cinema within a global context, and the specific challenges facing the production and dissemination of film within small nations. They will develop a critical engagement with wider debates around cultural power and geopolitics, and will be able to critique the usefulness of the idea of national cinema and the tactical value of a range of different interventions.

Students will develop their analytical skills and their familiarity with a range of diverse theoretical approaches. They will have the opportunity to demonstrate their understanding of the ways these critical debates are played out within specific material fields of cultural production and circulation through discussion, group research and seminar presentation. Written work will allow students to further develop their skills in independent research, critical analysis, evaluation of research methodologies and theoretically informed writing.

Assessment

Students will produce small group presentations on contemporary institutional, policy or economic approaches to national cinema (worth 40 % of overall grade) ; and one 3,000 word essay to be submitted at the close of semester (worth 60 % of overall grade).Indicative Course Content

Week 1: Theories of Nationalism

Week 2: Representing the Nation on Screen

Week 3: Core and Periphery / Transnational Travels

Reading:

Anderson, Benedict (1983) Imagined Communities, London: Verso; Durovica and Newman (eds) (2009) World Cinemas: Transnational Perspectives, London: Routledge; Hjort, Mette & Mackenzie, Scott (2000). Cinema and Nation, London: Routledge; Naficy, Hamid (2001) An Accented Cinema : Exilic and Diasporic Filmmaking Princeton: Princeton UPress; Williams, Alan (ed.) (2002) Film and Nationalism. New Jersey: Rutgers University Press; Vitali, Valentina and Willeman, Paul (2006) Theorising National Cinemas, London: BFI.

Weeks 4 and 5: Cinema in Mexico

Screenings

Y Tu Mama Tambien (Alfonso Cuaron, 2001)

Japon (Carlos Reygadas, 2002)

Supporting Reading:

Charles Ramrez Berg (1992) Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983. Austin: University of Texas Press; Armida de la Garza (2006) Mexico on Film: National Identity and International Relations. Arena Books; Sergio de la Mora (2006) Cinemachismo: Masculinities and Sexuality in Mexican Film. Austin: University of Texas Press; Susan Dever (2003) Celluloid Nationalism and Other Melodramas: From Post-Revolutionary Mexico to Fin de Siglo Mexamrica. SUNY Press; Joanne Hershfield; David R., Maciel (eds) (1999) Mexico's Cinema: A Century of Film and Filmmakers. Scholarly Resources; Carl J. Mora (1982) Mexican Cinema: Reflections of a Society, 1896-1980. Berkeley: University of California Press; Andrea Noble (2005) Mexican National Cinema. Routledge; Paulo Antonio Paranagua (1996). Translated by Ana Lopez. Mexican Cinema. Berkeley: University of California Press; Elissa Rashkin (2001) Women Filmmakers in Mexico: The Country of Which We Dream. Austin: University of Texas Press.

Weeks 6 8: Cinema in Scotland

Screenings

I Know Where Im Going (Powell and Pressburger, 1945)

Culloden (Peter Watkins, 1964)

Local Hero (Bill Forsyth, 1983)

Supporting Reading:

Blain and Hutchison (2008) The Media in Scotland, Edinburgh: Edinburgh University Press; Craig and McArthur (eds) (1982) Scotch Reels, London: BFI; Eddie Dick (ed) From Limelight to Satellite: A Scottish Film Book, Glasgow and London: Scottish Film Council and BFI; Colin McArthur (2003) Brigadoon, Braveheart and the Scots: distortions of Scotland in Hollywood cinema, London: Macmillan; David Martin-Jones (2009) Scotland: Global Cinema, Edinburgh: Edinburgh University Press; Jonny Murray (forthcoming) Discomfort and Joy: the cinema of Bill Forsyth, London: Peter Lang; Tom Nairn (1981) The Break-Up of Britain, London: Verso; Murray, Farley and Stoneman (eds) (2009) Scottish Cinema Now, Cambridge: Cambridge Scholars Publishing; Duncan Petrie (2000) Screening Scotland, London: BFI.Weeks 9 and 10: Cinema in Korea

Screenings

Sympathy for Lady Vengeance (Chan-wook Park, 2005)

The Good, The Bad and the Weird (Ji-Woon Kim, 2009)

Supporting Reading:

Bowyer, Justin (2004). 24 Frames: The Cinema of Japan and Korea. London: Wallflower Press; Davis, Darrell William; Yueh-yu Yeh, Emilie (2007) East Asian Screen Industries, London: BFI; Durovica and Newman (eds) (2009) World Cinemas: Transnational Perspectives, London: Routledge; Lau, Jenny Kwok Wah (ed) (2003) Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia Philadelphia: Temple University Press; Lee, Hyangjin (2001) Contemporary Korean Cinema: Identity, Culture, Politics. Manchester: Manchester University Press; McHugh, Kathleen and Nancy Abelmann (2005) South Korean Golden Age Melodrama: Gender, Genre, and National Cinema. Detroit: Wayne State University Press.

Cinema of Small Nations: Indicative BibliographyAnderson, Benedict (1983) Imagined Communities, London: Verso.

Berg, Charles Ramrez (1992) Cinema of solitude: a critical study of Mexican film, 1967-1983. Austin: University of Texas Press.

Blain, N and Hutchison, D (2008) The Media in Scotland, Edinburgh: Edinburgh University Press.

Bowyer, Justin (2004). 24 Frames: The Cinema of Japan and Korea. London: Wallflower Press.Davis, Darrell William; Yueh-yu Yeh, Emilie (2007) East Asian Screen Industries, London: BFI.

Durovica and Newman (eds) (2009) World Cinemas: Transnational Perspectives, London: Routledge.

Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press.Elsaesser (2009) The Persistence of Hollywood, London: Routledge.

Ezra and Rowden (eds) (2006) Transnational Cinemas, London: Routledge.

Donmez-Colin, Gonul (ed) (2007) The Cinema of North Africa and the Middle East, London: Wallflower Press.he Cinema of Northe Middle East The Cinema of North Africa and the Middle EGuneratne & Dissanayake (eds.) (2003) Rethinking Third Cinema, London: Routledge.

Higson, Andrew (1995) Waving The Flag: Constructing a National Cinema in Britain Oxford: Oxford University Press.

Higson, Andrew (2003) English Heritage, English Cinema: Costume Drama since 1980 , Oxford: Oxford University Press.

Hjort, Mette & Mackenzie, Scott (2000). Cinema and Nation, London: Routledge.

Hjort, Mette and MacKenzie, Scott (eds) (2003) Purity and Provocation: Dogme 95, London: BFI.

Hjort, Mette and Petrie, Duncan (eds) (2007) Cinema of Small Nations, Edinburgh: Edinburgh University Press.

Higson, Andrew and Ashby, Justine (eds) (2000) British Cinema, Past and Present , London: Routledge,

Iordanova, Dina (2001) Cinema of Flames: Balkan Film, Culture and the Media, London: BFI.

King, John (1990) Magical reels: a history of cinema in Latin America London: Verso.

Lau, Jenny Kwok Wah (ed) (2003) Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia Philadelphia: Temple University Press.

Lee, Hyangjin (2001) Contemporary Korean Cinema: Identity, Culture, Politics. Manchester: Manchester University Press.

McHugh, Kathleen and Nancy Abelmann (2005) South Korean Golden Age Melodrama: Gender, Genre, and National Cinema. Detroit: Wayne State University Press.Martin-Jones, David (2009) Scotland: Global Cinema, Edinburgh: Edinburgh University Press.

McIlroy, Brian (ed.) (2007) Genre and Cinema: Ireland and Transnationalism, London & New York: Routledge.

Mora, Carl J. (2005) Mexican Cinema: Reflections of a Society, 1896-2004, Berkeley: University of California Press.

Morley, David and Kevin Robins (1995) Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries London: Routledge

Morley, David, (2000) Home Territories: Media, Mobility and Identity, London: Routledge

Murray, Farley and Stoneman (eds) (2009) Scottish Cinema Now, Cambridge: Cambridge Scholars Publishing.

Naficy, Hamid (1998) Home, Exile, Homeland: Film, Media, and the Politics of Place London: Routledge

Naficy, Hamid (2001) An Accented Cinema : Exilic and Diasporic Filmmaking Princeton: Princeton UPress

Nestingen, A & Elkington, T. (eds.) (2005) Transnational Cinema in a Global North: Nordic Cinema in Transition, Detroit: Wayne State University Press.

Noble, Andrea (2005) Mexican National Cinema, London: Taylor & Francis.

Petrie, Duncan (2000) Screening Scotland, London: BFI.

Vitali, Valentina and Willeman, Paul (2006) Theorising National Cinemas, London: BFI.

Waugh, Thomas (2006) The Romance of Transgression in Canada: Queering Sexualities, Nations, Cinemas. Montreal: McGill-Queen's University Press,

Williams, Alan (ed.) (2002) Film and Nationalism. New Jersey: Rutgers University Press

Yau, Esther C (ed) (2001) At Full Speed: Hong Kong Cinema in a Borderless World. ed. Minneapolis, MN: University of Minnesota PressVII/ Progression

In order to proceed to the dissertation for the MSc, candidates must attain at least 80 credits with a pass at masters level or more in each of the separate elements, and be awarded an aggregate pass at masters level for the 120 credits of study examined at the point of decision for progression.

To obtain the MSc, a candidate must, in addition to reaching the required standard in the interim assessment, present a dissertation, for which the pass mark is 50%. The dissertation for the MSc will be 15,000 words in length (including footnotes and quotations, but excluding the bibliography), and will be submitted in the last week of August. Candidates who do not reach 50% in the interim assessment, but have achieved between 40% and 49% in the taught component of the course, may proceed to the Diploma. To obtain a Diploma, a candidate must achieve an overall level of 40% in the years work. Candidates permitted to proceed to the MSc, but whose dissertation is awarded a mark of 40-49% will also be awarded a Diploma.

In order to ensure comparability of marking standards, monitoring and moderating procedures will be applied to all assessed work.

All written assignments (including the dissertation) will be assessed according to the University's Common Marking Scheme.

The language of all essential reading material, as well as teaching and assignments, will be English.

VIII Bibliography

Indicative Bibliography - Primary works

Adorno, T.W. (2001) The Culture Industry, Routledge, London.

Albarran, Alan B. (1998) Media Economics: Understanding Markets, Industries and Concepts, Iowa State University Press.

Barrowclough, K. (2007) Creative Industries and Developing Countries: Voice, Choice and Economic Growth Routledge Studies in Contemporary Political Economy, London: Routledge

Barker and Mathijs (eds)(2007) Watching the Lord of the Rings: Tolkiens World Audiences, NY: Peter Lang.

Bazalgette and Buckingham (eds.) (1995) In Front Of The Children: Screen Entertainment and Young Audiences London: BFI.

Beck, Andrew (ed) (2003) Cultural Work: Understanding the Cultural Industries London and New York: Routledge.Berra , John (2008). Declarations of Independence: American Cinema and the Partiality of Independent Production, London: Intellect.

Bewes, T., and Gilbert, J. (eds) (2000), The Art of Regeneration: Urban Renewal Through Cultural

Activity, London: Demos.

Peter Biskind (2004) Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film Blais, Joline and Jon Ippolito At the Edge of Art. London, Thames & Hudson, 2006.

Bordwell, David, Janet Staiger, Kristin Thompson (1985) The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia UP.

Bordwell, David; Kristin Thompson (2003). Film History: An Introduction. Boston; London: McGraw-Hill.

Brawne, Michael (1982) The Museum Interior. Temporary and Permanent Display Techniques. London: Thames & Hudson Ltd.

Bruck, Peter A. (2002) Understanding the European Content Industries: A Reader on the Economic and Cultural Contexts of Multimedia IOS PressBurgoyne, Robert (2008) The Hollywood Historical Film. Malden: Blackwell.Cairns, Lucille (2006) Sapphism on Screen: Lesbian Desire in French and Francophone Cinema Edinburgh: Edinburgh University Press.

Cartmell et al (eds.) (1997), Trash Aesthetics: Popular Culture and its Audience, London: Pluto Press

Chapman, James (2003). Cinemas of the World: Film and Society from 1895 to the Present London: Reaktion Books.

Chopra-Gant, Mike (2008) Cinema and History: The Telling of Stories. London: Wallflower.

Colette, Henry (2008) Entrepreneurship in the Creative Industries: An International Perspective Edward Elgar Publishing.Cook (2007) The Cinema Book, London: BFI.Corless & Darke (2007) Cannes: inside the world's premier film festival, London: Faber.

Crane, D. et al. eds. (2002), Global Culture: Media, Arts, Policy and Globalization, Routledge, London.Davis, Darrell William; Yueh-yu Yeh, Emilie (2007) East Asian Screen Industries, London: BFI.

De Valck (2007) Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: University of Amsterdam Press.

Dean, David. Museum Exhibition: Theory and Practice. London: Routledge, 1994.Dennison & Lim (eds) (2006) Remapping World Cinema: Identity, Culture and Politics in Film, London: Wallflower Press.

Dickinson, Linn and Ramaswami Harindranath (eds.) (1998), Approaches to Audiences, London: Arnold.

Doyle, Gillian (2002) Understanding Media Economics London: SAGE PublicationsDuncan, Carol (2006) Maybe Feminism Has Just Begun, in Mobile Fidelities. Conversations on Feminism, History and Visuality, ed. M. Pachmanov, n.paradoxa online issue no.19 (May, 2006),124-135.

Durovica and Newman (eds) (2009) World Cinemas: Transnational Perspectives, London: Routledge.

Ellis, Steven R. et al (eds.). Pictorial Communication in Virtual and Real Environments. London, New York: Taylor & Francis, 1990.

Elsaesser Thomas (2005) European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press.Elsaesser (2009) The Persistence of Hollywood, London: Routledge.

Ezra and Rowden (eds) (2006) Transnational Cinemas, London: Routledge.

Friedberg, Anne (1993) Window Shopping: Cinema and the Postmodern Berkeley: University of California Press.

Flusser, Vilem, The Shape of Things. London, Reaktion Books, 1999.

Ginsburgh, Victor A. and David Throsby (2006) S Handbook of the Economics of Art and Culture North-HollandHall, Phil (2009). The History of Independent Cinema. BearManor Media.Higson, Andrew (1995) Waving The Flag: Constructing a National Cinema in Britain (Oxford: Oxford University Press.

Higson and Maltby (eds) (1999) Film Europe and Film America: Cinema, Commerce and Cultural Exchange, 1920-1939 Exeter: University of Exeter Press.

Higson and Ashby (eds) (2000) British Cinema, Past and Present London: Routledge.

Higson, Andrew (2003) English Heritage, English Cinema: Costume Drama since 1980 (Oxford: Oxford University Press.

Hoskins, Colin, Stuart M. McFadyn and Adam Finn (2004) Media Economics: Applying Economics to New and Traditional Media London: SAGE Publications

Howkins, John (2002) The Creative Economy: How People Make Money from Ideas London: Penguin

Charlie Keil, Ben Singer (Eds) (2009) American Cinema of the 1910s: Themes and Variations, Rutgers University pressKing, Geoff (2005) American Independent Cinema, London: IB Tauris.

King, Geoff (2002) New Hollywood Cinema: An Introduction New York: Columbia University Press.Grau, Oliver (2004) Virtual Art: From Illusion to Immersion. Cambridge MA: MIT Press.Grinke, Paul (2006) From Wunderkammer to Museum. London: Quaritch.Grosz, E.A. (2001) Architecture from the Outside. Essays on Virtual and Real Space. Cambridge, MA: MIT Press.

Guneratne & Dissanayake (eds.) (2003) Rethinking Third Cinema, London: Routledge.

Hark, Ina-Rae (2008). Exhibition, the Film Reader, London: Routledge.

Hartley, J. (2005) Creative Industries, Blackwell: Oxford

Hillier, Jim (ed) (2001) American Independent Cinema: A Sight and Sound Reader London: BFI. Hjort and MacKenzie (eds) (2003) Purity and Provocation: Dogme 95, London: BFI.

Hjort, & Mackenzie (2000). Cinema and Nation, London: Routledge.

Holland, Christopher (2008). Film Festival Secrets: A Handbook for Independent Filmmakers , CreateSpace or online edition.

Hooper-Greenhill, Eilean (2001) Museums and the Interpretation of Culture. London: Routledge, (Available through Ebrary).

Hunt. & Wing-Fai (2008) East Asian Cinemas: Exploring Transnational Connections on Film, London & New York: I.B. Tauris.

Hurbert-Martin, Jean (2007) Cautionary Tales: Critical Curating. London: Apeart.

Lash, Scott and Celia Lury (2007) Global Culture Industry: The Mediation of Things London: PolityLevy, Emanuel (1999). Cinema of Outsiders: The Rise of American Independent Film. New York University Press.Jackel, Anne (2003) European Film Industries, London: BFI.

Jacob, Gilles (2009). Citizen Cannes: La Vie Passera Comme Un Rve or Life Will Pass Like a Dream, Paris: Editions Robert Laffont.

Jancovich et al (2003) The Place of the Audience: Cultural Geographies of Film Consumption, London, BFI.

Kauer & Sinha (eds.) (2005) Bollywood: Popular Indian Cinema Through a Transnational Lens, London: Sage.

Kachur, Lewis (2001). Displaying the Marvelous. Marcel Duchamp. Salvador Dali and Surrealist Exhibition Installations. Cambridge, MA: MIT Press.Karp, Ivan and Steven D. Lavine (eds.) (1991) Exhibiting Cultures: the Poetics and Politics of Museum Display. Washington: Smithsonian Institution Press.

Keil, Charlie and Stamp, Shelley (eds) (2004) American Cinema's Transitional Era: Audiences, Institutions, Practices Berkeley: University of Calfornia Press.Kirsner, Scott (2009) Fans, Friends and Followers: Building an Audience and a Creative Career in the Digital Age, CreateSpace or online edition.

Maccannell, D. (1999) The Tourist: A New Theory of the Leisure Class, University of California Press, London.MacDonald, Sharon (ed.) (1998) The Politics of Display. Museums, Science, Culture. London, New York: Routledge.MacDonald, Sharon and Paul Basu (eds) (2007) Exhibition Experiments. Malden, MA: Blackwell.MacManamon, Francis P. (1999) Cultural Resource Management in Contemporary Society: Perspectives on Presenting and Managing the Past. London: Routledge. (Available through Ebrary)

Marcus, Alan S. ed. (2007) Celluloid Blackboard: Teaching History with Film. Charlotte: Information Age.Maltby and Stokes (eds.) (1999), Identifying Hollywoods Audiences: Cultural Identity and the Movies, London: BFI Marincola, Paula, (2007) What Makes a Great Exhibition? London, Reaktion Books.Merewether, Charles (ed.) (2006) The Archive. Cambridge MA, MIT Press.

Miller, Toby, and George Yudice (2002) Cultural Policy London: SAGE PublicationsMiller, T. et al. (2005), Global Hollywood 2, BFI, London.

Miller, T. (ed) (2009) The Contemporary Hollywood Reader, London: Routledge.

Morley, David and Kevin Robins (1995) Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries London: Routledge

Morley, David, (2000) Home Territories: Media, Mobility and Identity London: Routledge

Moul, Charles C., ed. (2005) A Concise Handbook of Movie Industry Economics Cambridge: Cambridge Press UniversityMurphy, David and Williams, Patrick (2007) Postcolonial African Cinema: Ten Directors Manchester: Manchester UP.Naficy, Hamid (1998) Home, Exile, Homeland: Film, Media, and the Politics of Place London: Routledge

(2001) An Accented Cinema : Exilic and Diasporic Filmmaking Princeton: Princeton UPress

Obrist, Hans Ulrich (2003) Moving Interventions: Curating at Large Journal of Visual Culture, 2/2 (2003): 147-60.Paul, Christiane (2003). Digital Art London, Thames & Hudson, 2003.Preziosi, Donald and Clare Farago (2004) Grasping the World: the idea of the museum. Kent: Ashgate.Putman, James, Art and Artifact (2001) The Museum as Medium London, Thames & Hudson.Ranciere, Jacques (2007) The Future of the Image London: Verso.

Rosenbaum and Martin (2003) Movie Mutations: The Changing Face of World Cinephilia, London: BFI.

Stafford, Roy (2006) Understanding Audiences and the Film Industry, London: Palgrave Macmillan.Schatz, Thomas (1998 [1988]). The Genius of the System: Hollywood Filmmaking in the Studio Era London: Faber and Faber.

Scott, Allen J. and Dominic Power (2007) Cultural Industries and the Production of Culture London: Taylor & FrancisShapiro (2008) Cinematic Geopolitics, London: Routledge.

Sherman, Daniel J. and Iritt Rogoff (1994) Museum Culture London: Routledge. (available through Ebrary)Shohat & Stam (eds) (2003) Multiculturalism, Postcoloniality and Transnational Media, New Brunswick: Rutgers University Press.

Stacey and Street (eds) (2007) Queer Screen, London: Routledge.

Staniszewski, Mary Anne (1998) The Power of Display. Cambridge, Mass: MIT Press.

Wilson, Stephen (2003) Information Arts: Intersections of Art, Science and Technology Cambridge MA: MIT Press.Taylor, Brandon (2006) Art for the Nation. Exhibitions for the London Public 1747-2001 Manchester: Manchester University PressTribe, Mark (2006) New Media ArtNew York, Taschen.Thomson (2007) The Frodo Franchise, London: Penguin Books.

Tufte, Edward R. (1983) The Visual Display of Quantitative Information. Cheshire, Conn: Graphics Press.Utterson (ed) (2005) Technology and Culture: The Film Reader London: Routledge.

Vesna, Victoria (2007) Database Aesthetics: Art in the Age of Information Overflow Minneapolis, University of Minnesota.Wands, Bruce (2007) Art of the Digital Age. London, Thames & Hudson.UK Preservation Administrators Panel Working Group (2000) Guidance for Exhibiting Archive and Library Materials. London: National Preservation Office.

Yannis Tzioumakis (2006) American Independent Cinema: An Introduction Edinburgh: Edinburgh University Press.

Indicative Bibliography - General Reading List

Adorno, TW. (1993) Aesthetic Theory (London: Athlone Press.

Arnheim, Rudolf (1970) Visual Thinking London: Faber.

Bal, Mieke (2003) Visual Essentialism and the Object of Visual Culture The Journal of Visual Culture, Vol. 2, No. 1, 2003, pp. 5-32.

Bann, Stephen (1984) The Clothing of Clio: A Study of the Representation of History in the Nineteenth Century, Cambridge, Cambridge University Press, 1984.Barker, Emma (ed.)(1999) Contemporary Cultures of Display, New Haven; London: Yale University Press.

Barnard, Malcolm (2001) Approaches to Understanding Visual Culture Houndmills: Palgrave.

Barthes, Roland (1984)Camera Lucida: Reflections on Photography London: Fontana.

. Image, Music, Text (1977) London: Fontana

. Mythologies (1972) London: Jonathan Cape.

Baudrillard, Jean (1983) Simulations New York: Semiotext(e).

Benjamin, Walter (1970) The Work of Art in the Age of Mechanical Reproduction Illuminations, ed. Hannah Arendt London: Cape.

Bergson, Henri (1983) Creative Evolution Lanham, MD: University Press of America

. Matter and Memory (1996) New York: Zone.

Berkeley, George (1980) An Essay towards a New Theory of Vision (1732), Philosophical Works: Including the Works on Vision, ed. M. R. Ayers, London: Dent, pp. 1-59.

. The Theory of Vision, or Visual Language Shewing the Immediate Presence and Providence of a Deity, Vindicated and Explained (1733), in Philosophical Works, pp. 229-250.

Berger, John (1972) Ways of Seeing Harmondsworth: Penguin.

Bhabha. Homi K (1994) The Location of Culture London: Routledge.

Bourdieu, P. (1984) Distinction: A Social Critique of the Judgement of Taste Harvard University Press, Harvard, Mass.

Bourdieu, P., Darbel, A. and Schnapper, D. (1990) The Love of Art: European Art Museums and their Public Stanford, California: Stanford University Press,

Brecht, Bertolt (1978) Brecht on Theatre: The Development of an Aesthetic, ed. John Willett London: Methuen.

Bryson, Norman (1983) Vision and Painting: The Logic of the Gaze London: MacMillan.

Cherry, Deborah (2000) Beyond the Frame: Feminism and Visual Culture, Britain 1850-1900 London: Routledge.

Cherry, Deborah (2004) Art History visual culture Oxford: Blackwell.

Crary, Jonathan (2001) Suspensions of Perception: Attention, Spectacle, and Modern Culture Cambridge, MA: MIT Press.

. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (1990) Cambridge, MA: MIT Press.

Cubitt, Sean (1998) Digital Aesthetics London: Sage, 1998

Darley, Andrew (2000) Visual Digital Culture: Surface Play and Spectacle in New Media Genres London: Routledge.

Debord, Guy (1994) The Society of the Spectacle (New York: Zone, 1994)

Deleuze, Gilles (2001) Cinema 1: The Movement Image London: Continuum

. Cinema 2: The Time Image (2001) London: Contimuum.

Denzin, Norman K (1995) The Cinematic Society: The Voyeur's Gaze London: Sage.

Elkins, James (2003) Visual Studies: A Skeptical Introduction London: Routledge.

Evans, Jessica; Hall Stuart (eds.) (1999) Visual Culture: The Reader London: Sage.

David W. Ellwood, Rob Kroes (eds.) with contributions from Gian P. Brunetta (1994) Hollywood in Europe : experiences of a cultural hegemony Amsterdam : VU University Press.

Fanon, Frantz. (1968) The Fact of Blackness Black Skin, White Masks, London: MacGibbon & Kee, 1968), pp. 109-140.

Foster, Hal (ed.) (1998) The Anti-Aesthetic: Essays on Postmodern Culture New York: New Press.

Foucault, Michel (1977) Discipline and Punish: The Birth of the Prison London: Lane.

. The Birth of the Clinic: An Archaeology of Medical Perception (1973) London: Tavistock.

Freedberg, David (1989) Power of Images: Studies in the History and Theory of Response (Chicago: University of Chicago Press.

Gieger, Jeff (2007) Facing the Pacific: Polynesia and the U.S. Imperial Imagination Honalulu: University of Hawaii Press

Gierstberg, Frits; Oosterbaan, Warna (eds.) (2003) The Image Society: Essays on Visual Culture Rotterdam: National Institute for Photography in the Netherlands (NAI Publishers).

Griffiths, Robin (2006) British Queer Cinema (British Popular Cinema) (New York, NY and London: Routledge.

Goffman, Erving (1990) The Presentation of Self in Everyday Life London: Penguin.

Gombrich, E. H. The Story of Art (Oxford: Phaidon, 1978)

Grau, Oliver. Virtual Art: From Illusion to Immersion (Cambridge, MA: MIT Press, 2003)

Grossman, Andrew (2000) Queer Asian Cinema: Shadows in the Shade New York, NY: Haworth Press

Gumbrecht, Hans Ulrich (2004) The Production of Presence: What Meaning Cannot Convey Stanford: Stanford University Press.

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THE UNIVERSITY OF EDINBURGH

PROGRAMME SPECIFICATION FOR

M.Sc. Film in the Public Space

1) Awarding Institution: University of Edinburgh

2) Teaching Institution: University of Edinburgh

3) Programme accredited by:

4) Final Award:

5) Programme Title: M.Sc. Film in the Public Space

6) UCAS Code:

Relevant QAA Subject Benchmarking Group(s):

7)Postholder with overall responsibility for QA: Martine Beugnet

8)Date of production/revision:

9)Educational aims of programme:

Film in the Public Space is designed to provide professional expertise and outreach skills for postgraduate students, taking advantage of Edinburghs unique film culture as well as exhibition and festival infrastructures.

The course will examine the ways film is circulated across a range of public spaces economic, institutional, technological, discursive and transnational. It will consider film as a material object, as a carrier of representations, and as a series of economic and cultural relations. At the heart of the programme will be an understanding that film functions both symbolically and materially; this integrated approach is embedded in the teaching methods across the programme.

The circulation of film in the public space is often neglected in low budget production, in educational models and in academic accounts, yet is central to the mediums ability to find and communicate with an audience. Exhibition is key to the survival of independent film-making and the alternative visions of the world this can carry. This programme aims to educate and inform future professionals about the significance of this crucial field and to instruct students on ways to manage delivery in a rapidly transforming environment. The programme will also aim to enable students to engage with new audiences and develop modes of outreach and accessibility, to generate and manage collaborations, and be a valuable presence and resource within the film community.

10)Programme Outcomes:

(a) Knowledge and understanding

The course will furnish the students with a broad understanding of the patterns, mechanisms and implications of the modes of distribution and exhibition of moving image based works, with a focus on art, experimental, and independent film as well as related (expanded cinema, installation work) media arts.

(b) Intellectual skills

The course will develop the intellectual autonomy necessary for research, group work, and project planning (the development of practical applications and modes of dissemination for their research findings).

(c) Professional/subject-specific/practical skills

Film in the Public Space will provide MSc students with those insights and skills essential for a career in film programming and festival organisation, furnishing them with ability to work beyond their theoretical expertise to deal with practical and professional tasks. These include: establishing links with the industry, building commercial and non-profit partnerships, fundraising, effective planning and co-ordination, marketing, contacting filmmakers, sourcing films, budget management, compiling a programme and reaching new audiences.

(d) Transferable skills

Analytical and discursive skills

Independent thinking

Oral and written communication skills

Information retrieval and research skills

Problem formulation and solving

Project planning

Budgeting and fundraising

12)Other items

PROFESSIONAL COLLABORATIONS AND OUTREACH

A key element of the programmes value and appeal will be generated through the connections it can offer with professional practitioners and with audiences. The programme directors will enhance and expand on Edinburgh Universitys existing strong networks with national and international film festivals, such as the Edinburgh International Film Festival, Diversions, the French Film Festival; and with other professional bodies. They will also work to develop new partnerships with practitioners in film production and marketing, exhibition and curatorship, and build relationships with archival organisations and policy-makers. Students will have the opportunity to benefit from these connections through a number of initiatives.

a) The core teaching on Film in the Public Space will draw on the skills and knowledge of invited speakers from industry and other moving image organizations

b) The programme directors will establish a series of themed workshops with invited professionals. These workshops will be open to MSc and PhD students from Edinburgh and participants from partner organisations. Where appropriate, a number of places may also be made available to other industry practitioners and paying attendees.

These workshops are intended to complement the formal teaching on the Film in the Public Space masters, but additionally to develop a programme of outreach beyond the university to collaborative partners from other HEIs, from Scottish, UK and European cultural institutions and to relevant cultural practitioners and creative communities.

c) Students on the programme will have the opportunity to develop collaborative projects with partners outwith the university. Students may be able to contribute to existing projects and to gain work experience in professional contexts (for instance working on the documentary project, The Story of Film, as part of a developing collaboration between Film Studies, Mark Cousins and Hopscotch Films).

DPTFilm in the Public Space (MSc/Dip)

Degree Type: Postgraduate Taught Degree

POS Code:

NYTCourseSLCT

Semester 1

Film in the Public Space 1G1120

Research Skills and Methods P00265G1120

One 20 credit option.

Options offered include:

Italian Cinema: Neorealism and its Modulations

Avant-Garde Film

Screening the past: History in Hollywood and European cinemas

Early European Cinema

World Cinema: Revisions and Replacements Gender, Revolution and Modernity in Chinese Cinema Constructing Reality I

Cinema Auteurs 1

Cinemas of the Middle East

Film and the other arts Sound and Fixed Media (ACE)

Or any other 20 credit option with the approval of the programme directors.

NB: Options will include but not be restricted to the list above. Programme directors are in negotiation with other disciplines and schools regarding additional option choices.

Not all options are available each year.

G1120

Semester 2

Film in the Public Space 2A1120

Project Planning and Research SkillsA1120

One 20 credit option.

Options offered include:

British and Irish Cinema

Film Style and the Cinematic City

French Cinema: The Nouvelle Vague and Contemporary Trends

New German Cinema: Concepts and Film Style

Constructing Reality II

Cinema Auteurs 2

Cinema: Time, Space, Memory

Cinematic Bodies

Or any other 20 credit option with the approval of the programme directors.

NB: Options will include but not be restricted to the list above. Programme directors are in negotiation with other disciplines and schools regarding additional option choices.

Not all options are available each year.G1120

DissertationG1160

Or Final ProjectA1160

Comments from the External Assessor

NEW PROGRAMME PROPOSAL

M.Sc. FILM IN THE PUBLIC SPACE

External Assessors Comments

General

First of all this an extremely interesting and innovative proposal that represents a serious attempt to integrate high level academic teaching and learning with a strong focus on the professional sphere of film curatorship, programming and festival organisation with a view to students potential career options. Such integration represents the kind of relevance that the broader field of film and media studies needs to maintain its significance as a subject and its popularity with students. This programme is also eminently suited to being located in Edinburgh. Indeed given the citys long standing reputation as a major centre of serious film culture via its successful cinemas and high profile film festivals it is perhaps surprising that such a programme has not been initiated already. On that level alone it deserves to be taken very seriously as outside London there is no other major city in the UK that can boast such a long standing association with serious film appreciation. Moreover, such a programme wil have considerable appeal to both home and international students

Specifics

The rational and aims of this programme are extremely strong and persuasive. It is highly innovative in the sense that I am not aware of any comparable existing programme in the UK. An MA in film curatorship is current being developed under the auspices of the London Consortium but that should not pose a serious problem for recruitment as Edinburgh is in a very good position to compete for both UK and International Students.

The programme design is robust and intelligent, proving a strong core of subject specific and research skills alongside a range of interesting options giving students a reasonable degree of choice. The alternative possibilities provided for the dissertation are also very welcome and commendable, although obviously clear assessment guidelines and procedures need to be developed in relation to the group project. The design of the programme also works efficiently in terms of the limitations on staffing numbers. The information provided indicates that the coherence of teaching and learning methods, the type and range of assessments, and the overall academic standards are robust and appropriate across the board.

The Professional Collaborations and Outreach elements are a very strong selling point for this programme and represent exactly the kind of sustained connect with the sphere of professional practice that will guarantee this programmes relevance and hopefully its future success and sustainability. The development of such connections will also have a positive effect on related research activities that are particularly appropriate in an environment where relevance and impact are increasingly emphasised.

Professor Duncan Petrie

Department of Theatre, Film and television

University of York

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